Former child star Haley Joel Osment and 90210 actress Jessica Stroup have taken part in a bizarre new video which features a group of strangers slapping one another in the face. The Amazing Spider-Man actress Hannah Marks and Victorious co-stars Matt Bennett and Liz Gillies also agreed to participate in Chronicle director Max Landis' new social experiment.
He says, "The theory I had was that violence minus aggression is intimacy. It's the idea of trusting someone to hit you and it being a social interaction. A slap, mitigated by permission, is a hug."
The Slap video was inspired by the recent viral clip The Kiss, which featured strangers smooching.

Columbia Pictures via Everett Collection
We're of the mentality that you should never write off a project on concept alone. Who'd have thought that some of this past Oscar season's best material would include a guy falling in love with his smartphone, Will Forte dragging an old man around the American Midwest, or a woman floating aimlessly around in space? So we're really trying to find the hope in your plans for Ghostbusters 3, Dan Aykroyd, but it's not a good sign when even Max Landis, the son of your longtime pal and frequent collaborator John Landis, is turning down the opportunity to direct.
Rumors began circulating that li'l Max, writer of Chronicle and Daniel Radcliffe's upcoming Frankenstein picture, was attached to helm Aykroyd's widely lamented attempt at a third go. But the heir to the Landis throne denied these reports on Twitter (via Cinemablend), citing an already stocked foreseeable future: "Zero truth to the Ghostbusters report," he said on Tuesday. "Frankenstein, Me Him Her, American Ultra and Mr. Right come out next year. Working on things at Uni and Sony, and indies. GB3, sadly, no."
This must be a letdown for Akyroyd, who must have really been banking on the "But your pa and I did Blues Brothers together! We made history!" speech to take weight. But it's not like the man doesn't have plenty of other pals with up-and-coming offspring to take the reins on this new project. Jason Reitman's got to be looking for a way to make up for Labor Day, right?
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When you think about it, superheroes can be a pretty fickle bunch. Through several decades of comic books and the dozens of comic book films released over the years, it's become abundantly clear that there's no such thing as a binding alliance. Comic book characters switch over the moral dividing line so often that keeping track of it all can be headache-enducing, a fact that one Captain America knows all too well. In the upcoming sequel, Captain America: The Winter Soldier, Cap sees himself facing off against an old friend, and in his honor, we've decided to list our favorite comic book movie frienemies.
Harry Osborne and Peter Parker (Spider-Man)High school best buds turned mortal foes, Peter Parker and Harry Osborne are the original frenemies. When Harry discovers that Spider-Man killed his father Norman (the OG Green Goblin), and later finds out that Peter Parker is Spider-Man, the news sets him on a raging path of revenge. Harry picks up the mantle of the Green Goblin and tries to put a stop to the webslinger's heroics once and for all.
Loki and Thor (Thor)Being second sucks, doesn't it? Brothers Thor and Loki were always thick as thieves, but under the surface, certain injustices began to slowly gnaw away at their friendship. Jealousy over Thor's birthright plus the discovery of his true frost-giant origins were enough to send the already mischievous Loki into full villain mode.
Dr. Connors and Peter Parker (The Amazing Spider-Man)Peter Parker and Dr. Connors had a budding Teacher/protege relationship in The Amazing Spider-Man, but Connors was slowly driven crazy by his limb re-growth serum and becomes the Lizard. When the Lizard decides to turn the whole of New York into gigantic reptilian creatures, Spidey had to take the respected scientist down.
Andrew, Matt, and Steve (Chronicle)There's nothing like finding alien superpowers to make a friendship stronger. In Max Landis' Chronicle, Andrew, Matt and Steve bond after accidentally obtaining powers, but Andrew gets consumed by his new found abilities and his terrible home life. After possibly killing Steve, Andrew goes on a rampage through the streets of Seattle, and it's up to Matt to stop him before more people get hurt.
Todd and Dave (Kick-Ass 2)In the sequel to Kick-Ass, the eponymous hero continues to wage his inept war against crime, but when his best friend Todd feels left out of the superheroics, he almost unwittingly becomes a henchmen of Christopher Mintz-Plasse's The Motherfu****, and inadvertantly get's Kick-Ass' father killed. Things between the two are reconciled at the end, but there are some things you probably shouldn't forgive.
Magneto and Professor X (X-Men: First Class)Did I say Harry and Peter were the original frenemies? Nope, that honor clearly goes to Magneto and Professor X. While Erik Lehnsherr and Charles Xavier were originally united in their fight for Mutant rights in the 60's, Professor X sought more peaceful methods, while Magneto was very much an ends-justifies-the-means type of guy, and the two have been at each others throats ever since. They still have mutual respect and affection for one another, but it's buried under years of hate.
Mystique and Professor X (X-Men: First Class)Wait, hold on. Did I say Magneto and Professor X were the original frienemies? Well, according to X-Men: First Class, the good Professor knew Mystique back when they were both children. The two were basically siblings growing up until Raven started to side with Magneto's more forceful ideas about Mutant rights.
Harvey Dent and Bruce Wayne (Batman Forever)Harvey Dent was a by-the-books district attorney that protected Gotham with law and order, while allowing Batman clean up whatever scum slipped out of the court and onto the streets. Their tag-team was broken up when Dent's face was burned by a disgruntled crime boss in the middle of a court proceeding, and Dent is driven insane by his disfigurement, becoming the villain Two Face.
Sabertooth and Wolverine (X-Men Origins: Wolverine)Bound by blood and death, Wolverine and Sabertooth were half-brothers that spent the better part of two centuries fighting through American military conflicts across the globe. After being recruited by William Stryker to join a group of mutant military group called Team X and carrying out some wet work on behalf of the government, Logan leaves the team, feeling dismayed by all of the killing, and Sabertooth sees this as the ultimate betrayal.
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Jessie Eisenberg and Kristen Stewart are joining forces to be tepidly awkward together once again, but not for the hotly anticipated Adven2reland. The pair will star together in American Ultra, an action comedy directed by Nima Nourizadeh. The film's screenplay was written by Max Landis, the scribe of 2012's super-hero thriller Chronicle.
In the upcoming film, Mike (Eisenberg) is a lazy stoner who lives with his girlfriend Pheobe (Stewart). One night, their lives take an unexpected turn when Mike's past comes back to haunt him, and he becomes the target of a government operation set to wipe him out.
The two stars possessed a nerdy charm and chemistry that made Adventureland an enjoyable indie hit. Hopefully they can transfer that chemistry to this new film which sounds like it has more of a moving plot then a coming of age amusement park dramedy. Ever since Adventureland, the two stars have had divergent career paths —Eisenberg successfully taking on high profile projects like The Social Network and being nominated for awards, while Stewart stormed the box office (and the gossip columns) as Bella Swan, but has had trouble kicking off a new film franchise. After the Twilight explosion ended and Snow White and the Huntsman flopped, Stewart has been seeking shelter in indie projects. While this mini Adventureland reunion could be a satifying dose of 2009 nostalgia, it is missing a key component. Unfortunately, creepy Ryan Reynolds will not be taking part in the new film.
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Haley Joel Osment is determined not to be just another child star that's left immortalized on our dusty VHS tapes; he's ready for the big screen, the small screen, and even... gasp... DVDs. According to Deadline, Osment has landed two indies: Kevin Smith's Tusk and Max Landis' Me Him Her.
In Tusk, Osment will play a guy named Teddy who sets out to find his best friend and podcast co-host (Justin Long) in the Canadian woods, where he's been forced to dress like a walrus for a crazy man who's looking for a companion. We're pretty sure that's as horror-indie as anything can ever get. And as for Me Him Her, which has no confirmed plot as of yet, Osment is set to star alongside Scott Bakula, Geena Davis, and Alia Shawkat (who is all too familiar with the indie scene).
Add that all to the fact that he appears on Amazon Studios' sitcom Alpha House and is one of the main characters in the upcoming (eccentric and bizzare) IFC miniseries Spoils of Babylon from Funny or Die, and we can confidently say that Osment is carefully planning his rise to adult stardom via indies. And hey, it totally might work. Flying under the radar might be exactly what Osment needs to do to let us know that he can do more than see dead people.
Osment can be seen on Spoils Of Babylon when it debuts on IFC in Jan. 2014.
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AP Photo/Dan Steinberg
World of Warcraft is an MMORFG (for those non-nerds, that a Massive Multiplayer Online Role Playing Game) that's been raking in the cash for video game company Blizzard for years, and courting many a potential movie deal. So far, Blizzard has demonstrated some good judgment, refusing to sell their Warcraft rights to Uwe Boll in 2008, when he was keen on adding the title to his long list of terrible video game adaptations. But it's five years later, Boll has moved on to other, no doubt crazier things, and now Legendary Pictures has made a deal with Blizzard to go forward with a movie version of one of their most valued properties. Though director Duncan Jones has been connected for some time, actors Colin Farrell, Paula Patton, Paul Dano, Anton Yelchin, Anson Mount, and Travis Fimmel were just announced via Deadline to be potential cast members. If you saw these names in a list, there'd be no way your first guess would be "cast of the new World of Warcraft adaptation," yet, here we are. It's a mix of bona fide stars, electic indie standbys, TV hunks, and, at the head of it all, a director who made two great, small movies (Moon and Source Code) about moral dilemmas and the effects of technology — a far cry from the elf and goblin set. Is there any way to make sense of these people being connected to this project?
Let's play Six Degrees of the Cast of the New World of Warcraft Movie and try to find out.
So there's Colin Farrell, the biggest name and thus probably the biggest or best part on display here. He's European, which is all that's required for anyone in Hollywood fantasy films. He's got some great movies (In Bruges) and some terrible ones (S.W.A.T., Alexander) under his belt, so no indication of quality there.
Then there's his costar in the underrated but still pretty bad Fright Night, Anton Yelchin. Yelchin will probably play second fiddle to Farrell, as the Frodo to his Aragorn. Yelchin does have some nerd cred, playing the current iteration of Chekov in Star Trek, but seems to prefer indie films like the much smaller Like Crazy.
One of the current kings of the indie scene is Paul Dano, whose small turns in bigger films and big turns in smaller films have made him a reliable "weird guy" for Hollywood. Maybe he'll be playing a wizard of some kind.
We start to head into the wilderness with the addition of Anson Mount and Travis Fimmel, who are both hunky TV stars on History Channel shows. Not much more to say than that, other than they should hope that one has to dye his hair bright pink or put on green makeup so we can tell them apart.
Then you have Paula Patton, floundering around by herself in the land of unendearing romantic comedies and being married to the song of the summer guy. There's no rhyme or reason to why Patton was pursued for this, but we can think of one reason why she's be eagar to accept: Angelina Jolie, who once was the star of Lara Croft: Tomb Raider, one of the less horrible video game adapations, went on to become an Oscar winner and all-around A-Lister and good person. Maybe Patton believes she's destined to the same.
Does that clear things up at all?
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OK, it has been almost thirty years since John Landis' cult-favorite comedy Spies Like Us debuted in theaters, and it's time to make either a sequel or a remake. First thing the execs need to look at is the over $60 million the comedy made way back in 1985. Double that for today's grosses and those are the kind of numbers that Hollywood bean counters love. Dan Aykroyd has hovered on the Hollywood radar with constant rumors of a Ghostbusters 3 movie that has never come to pass. Family Guy scored with their tribute to the '85 film in their episode “Spies Reminiscent of Us” with both Aykroyd and Chevy Chase lending their vocal talents. And it was a funny episode, leaving those fans of the '85 original starved for more.
Since Landis seems to be sticking to directing TV these days, why not tap his son Max to call the shots on a new installment? He wrote last year's Chronicle, proving that talent does indeed run in the family. I think that a “Son of Spies Like Us” may be a good angle to take with the project since the thirty-year anniversary of the original is coming up faster than you can say GL-G20. With Chevy's Community cred and Aykroyd's fan-friendly attitude, now is the time to get a Spies Like Us sequel off the ground.
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So long, 2012…sorry that whole apocalypse thing didn’t work out. As we look back on the closing year, one thing that becomes inescapably clear is that Hollywood’s predilection for adapting established properties and developing recognizable brands is only growing. That’s not to say every adaptation is bad — some of the best films of the year were based on previous written work. However, when it comes to cinema, there is no substitute for a fantastic original idea.
To honor the movies the fresh concepts that slipped into the mix this year, not based on novels, comic books, or, heaven forbid, board games, here are our picks for best original films of 2012:
Moonrise Kingdom
If there is one artist who represents the living embodiment of originality, it’s Wes Anderson. That’s not to say that the celebrated writer/director doesn’t have a distinctive style that underscores his work, but each and every filmic experience he crafts is unlike any other. With Moonrise Kingdom, Anderson assembled a cast that included both new collaborators and familiar veterans to build a 50s era fairy tale around the inherent wonder of falling in love for the first time. The cinematography, true to form with an Anderson film, was a superb mix of dreamlike fantasy landscapes and lovingly nostalgic slice of Americana.
Looper
Science-fiction is the genre that affords the most opportunity for creativity and innovative storytelling. Unfortunately, too often the original ideas are woefully overshadowed by remakes and otherwise creatively bereft white noise. Rian Johnson is a filmmaker who has always made bold and interesting choices; from his high school film noir Brick to his wildly imaginative conman flick The Brothers Bloom. With Looper, Johnson takes on the daunting task of working with time travel mechanics as he tells the story of a hitman who kills those sent back from the future. The hitman is conflicted when his older self appears as his latest target. Looper’s brilliance is in the fact that its character study, coupled again with a film noir tinge, is compelling enough to negate any quibbles we might normally have over the logistics of temporal displacement.
The Cabin in the Woods
It has gotten to the point wherein if you’ve seen one studio horror film, sadly, you’ve pretty much seen them all. The dearth of originality in horror is usually far more frightening than the tired monsters and madmen that are routinely rehashed and trotted back out time and time again. Enter The Cabin in the Woods. The directorial debut of Drew Goddard, and co-written by Joss Whedon, The Cabin in the Woods is a masterful deconstruction and re-contextualizing of every conceivable horror trope. It doesn’t note the conventions, it challenges the viewer to consider why they exist in the first place. If you need more proof that the horror genre is in trouble, as brilliant as is Cabin, the movie sat on a shelf for several years. Thank goodness we got several more Saws and Paranormal Activities in the meantime, right?
ParaNorman
Animated films are not immune to falling into ruts. In fact, more so than any other type of film, they can be tempted to pander to their target audience; using the younger demographic as an excuse for lowered standards of quality. This could also explain why so many uninspired animated film franchises crop up. This is one reason Chris Butler and Sam Fell’s ParaNorman was so exceptional. It not only shied away from the typical talking animal fare with fleeting pop culture references, but it also made some daring choices designed to challenge its young viewership. It offered emotional resonance and balanced comedy with intense, dark content that actually confronts kids with the concepts of dying and loss. Couple all of this with several gorgeous styles of animation and the fact that one of its chief characters is gay, without any big fuss made over it, and it’s not difficult to see why ParaNorman is one of the more ingenious family films in recent memory.
Chronicle
As original properties go, Chronicle is a triumph on multiple fronts. Directed by relative newcomer Josh Trank and written by Max Landis, son of Animal House’s John Landis, it tells the story of three high school boys who suddenly come into possession of telekinetic superpowers; their stories captured through the lens of one the character’s personal videocamera. Chronicle may not have been based on any comic book, but it took a fresh new perspective on the idea of the villain origin story. Not only that, but Chronicle also introduced a total game-changer for the ever-growing found footage trend. With his telekinetic powers, our protagonist/antagonist was able to manipulate his camera in such a way as to allow for the benefits of the first-person point of view without becoming hindered by the gimmick.
[Photo Credit: Sony Pictures]
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As we bid adieu to 2012, and shirk off the fears we harbored about the Mayan apocalypse even if we wouldn’t admit it, it’s time to cinematically evaluate the expiring year. Countless film trends rose and fell over the course of these 12 months, but none experienced such severe growing pains as found footage. A popular visual gimmick steadily gaining popularity over the last few years, the subgenre reached a critical mass in 2012 that not only shook our conceptions of this style of filmmaking, but also placed it into a precarious adapt or die situation.
It all started with The Devil Inside... fitting that the genesis was a deeply embedded malicious being. Despite the potential possessed by The Devil Inside's premise, the movie was not only a weak entry into this particular canon of films, but indeed a weak excuse for a film altogether. It so lazily pandered to the popularity of the gimmick to get people into the theaters that it didn’t see the need to bother with trivialities like, say, a third act. Sure, it banked a monumental sum in its opening weekend, based solely on the nature of what type of movie it was, but its subsequent weekend drop-offs were staggering. Clearly, people were tired of being duped.
The Devil Inside, a first-person possession film, being the kickoff of this year’s slate of found footage titles is decidedly apropos. It illustrates the fact that horror is the most common host to which found footage tends to attach itself. There has always seemed to be this natural symbiotic relationship between the two. Horror filmmaker Simon Barrett, writer of You’re Next and A Horrible Way to Die, offered this reasoning for the happy marriage of the motifs: "In found footage horror, the audience is often literally sharing the victim's perspective, and there's an immediate, visceral response.”
“Additionally, found footage needs to look realistic,” added screenwriter C. Robert Cargill (Sinister), “which can mean no lighting crews, makeup, or camera crews, cutting a substantial portion of a budget from a genre that exists primarily with limited budgets.”
The problem here is that by now, we’ve seen dozens of found footage horror films. We’ve been inundated with Paranormal Activity clones, because that is what has proven to be financially lucrative. While initially providing the most suitable coupling for both optimal sensory experience and budgetary constraints, the combo of found footage and horror is increasingly in danger of becoming nothing but white noise. This was the hurdle suddenly facing found footage, and this is where the subgenre most impressively evolved in 2012.
Relatively unknown filmmaker Josh Trank partnered with screenwriter Max Landis, son of the great John Landis, to bring us Chronicle. The film centered on a group of teen boys who are suddenly endowed with super powers. Chronicle then charted the varying moral directions in which those gifts pulled them. It was a fascinating, enthralling movie…told almost entirely through one character’s video camera. Trank and Landis had created the first found footage superhero film, one strong enough to land Trank the gig directing the Fantastic Four reboot. But why did this experiment work so well?
“You care a lot about the villain because you’re seeing his perspective and the terrible things that he’s dealing with,” noted actor A.J. Bowen (The Signal, House of the Devil), it gives you an ability to take on, on a more personal level, the things that are happening in the movie.”
Bowen is an actor most recognized in the horror community, and indeed much of his work has been within that genre, but even he agrees that found footage desperately needed to break out of horror and adapt itself to other genres. "I think the most important thing for us as cinephiles, and as filmmakers, is to be open to change. Maybe found footage isn’t bad, maybe how we use it is bad. Is it a dogma? Is it a set of rules? Art should never have rules, because you’re instantly limiting the potential,” he mused.
This genre flexibility continued in films like Project X and End of Watch. While a certain amount of personal tolerance for salacious content must be weighed when discussing the merits of Project X, the fact is that it was taking a heretofore horror-centric aesthetic and applying it to a raunchy teen comedy. End of Watch, from director David Ayer, further expanded the first-person fictional narrative and adopted it to weave a moving police drama. Given the prevalence and policy of dash-mounted cameras in cop cars, as well as the ubiquitous nature of YouTube, neither of these avenues felt like a stretch. “With the rise of internet culture,” Barrett points out, “it's not like people are videotaping themselves any less these days.”
These films have opened the door for found footage’s continued adaptation. “I think within the next few years we’ll see found footage variants in nearly every acceptable genre,” Cargill said. The good news is, at the very least Chronicle and End of Watch have demonstrated that the crossover need not be simply a desperate ploy for dollars. “Before it seemed like people were doing the best that they could with what they had to fit within,” observed Bowen, “and I never think that art should be confining. I know that it’s not all about art; it’s also about commerce. But there’s a way to do both and I think that now there’s a way to use found footage to enhance the story instead of being reductive with it.”
Even within its progenitor genre, found footage saw evolution and experimentation in 2012. Magnolia Pictures recently distributed a film called V/H/S that had previously garnered a great deal of festival buzz. It is an anthology horror movie, something of a rarity anymore in its own right, in which each vignette is a found footage story. While it may seem that V/H/S is shooting merely for novelty, this merging of two separate horror subgenres may actually help alleviate some of the issues audiences tend to have with found footage in general.
“All of the problems that viewers have with found footage films - the slow first acts, the stylistic tedium, the ‘Why the hell are they still filming this?’ factor - evaporate when the story you're telling is only 15 minutes long,” acknowledged Barrett, who wrote one of the capsule stories for V/H/S and will be writing and directing segments for the upcoming sequel S-VHS. “You have the freedom to jump right into the story and do something really crazy stylistically, because it only has to be even remotely plausible for a few minutes.”
The Devil Inside was the first found footage movie of the year, but 2012 was capped in this regard by Paranormal Activity 4, the most recent installment of the franchise that rejuvenated the trend in the first place. These two films could not be more appropriate bookends for found footage in 2012. The Devil Inside may have been standalone trite, but Paranormal 4 was so lazy and self-derivative as to signal a franchise circling the drain. One of the most striking shared shortcomings of these two films is their obnoxious reliance on a long outdated secondary gimmick in which the filmmakers actually try to convince the audience that the events on the screen are components of a true story.
The Devil Inside actually went so far as to abruptly end the film and advise audience members to log onto a fabricated website for “the rest of the story.” This sort of half-witted deception has been permanently undermined by The Blair Witch Project; once that was debunked, we were immune to the cinema verite charade. “We’re too savvy to it, and we get bored with it really quickly,” Bowen argued. In a year marked by growth and expansion in found footage, The Devil Inside and Paranormal 4 seemed the most outdated relics because they refused to abandon this façade.
Perhaps the conundrum we’re facing with found footage at the moment is how we are defining in the first place. In the past, the term has referred to any film, usually horror, in which the plot progresses via a camera in the hands of one of the characters within the story. How then do we explain the fact that Chronicle’s climax has multiple angles or that, as A.J. Bowen notes, “there’s a montage in [Project X]…how can it be considered found footage?”
In October, Sinister hit theaters. Though shot as a traditional third-person narrative, Sinister may be the most literal example of a found footage movie to date. It is literally about a guy who finds 8mm footage in his attic, and then watches it. In fact, as co-writer C. Robert Cargill admits, “when I registered the idea with the WGA, I did so under the simple name Found Footage. Everyone on the production side loved it.”
This may seem a silly aside, but given that the film was produced by Paranormal Activity maestro Jason Blum, and in light of the extremely transitional phase in which the subgenre finds itself, perhaps Sinister is just the film to get the ball rolling on the subject of total reclassification. If this evolution continues, by this time next year, we made need a more refined term. Though, as Barrett shrewdly professes, “I like ‘found footage’ better than ‘mumblegore.’”
[Photo Credit: ]
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One of the earliest announcements to come out of this year's San Diego Comic-Con is, appropriately, tied to a Marvel Comics superhero movie: Twentieth Century Fox has announced that a Fantastic Four reboot will be handled by director Josh Trank. It is an unusual turn for Marvel to opt for a greenhorn like Trank, whose only directorial feature to date is this year's Chronicle. Helmers of other recent Marvel flicks to date include film and television veterans like Joss Whedon (The Avengers), Jon Favreau (the first two Iron Man movies), and the very classy choice of Kenneth Branagh (Thor). So what does this decision mean for the Fantastic Four reboot?
Aside from his found footage sci-fi Chronicle, Trank has also worked on the military crime-drama TV show The Kill Point. Considering each of these projects, one might assume that Trank will provide a darker, grittier, potentially more violent take on Fantastic Four. Tim Story's 2005 adaptation of the superhero troupe (and his 2009 followup) was a bit lighter, goofier, and more hollow than some of the more sincere and biting comic book fare that we've seen since.
Fantastic Four's eye candy casting (Chris Evans and Jessica Alba), and the visual spectacle of people stretching, smashing, igniting and disappearing, made the movie more of an aesthetic romp than a real, down-to-Earth tribute to the Marvel characters. While Trank doesn't have a lot on his resume, Chronicle proves that he is interested in exploring the nature of human character in a supernatural setting — hopefully, he'll carry this devotion to character design over to the Marvel reboot.
One of the most fun questions to entertain: who will be cast to play the superheroes? Trank hasn't been in the business to have built up many allies yet, but he has worked with the familiar names of Michael K. Williams, John Leguizamo, Frank Grillo and Donnie Wahlberg on The Kill Point, and Michael B. Jordan in Chronicle. Plus, Trank is in tight with Chronicle co-writer Max Landis, so maybe some of the latter's father's old war buddies can come into the action? I know it's a stretch, but it's fun to entertain the idea of Dan Aykroyd as The Thing, or Steve Martin as Mr. Fantastic. And yes, that probably veers quite a ways from Trank's down-to-Earth style as mentioned above... but hey, Comic-Con is for dreams.
In all sincerity, a younger cast like the one Trank worked with in Chronicle would suit the film well, giving it a fresher, more "cutting edge" feel than the schlocky 2005 ordeal. Jordan, the central hero of Trank's found-footage flick, has quietly racked up quite a resume ever since breaking out as The Wire's Wallace. The versatile 25-year-old actor, whose most recent venture was a major role in Red Tails, could easily handle the sincerity of intellectual team leader Reed Richards (Mr. Fantastic), or even the more spirited, caution-to-the wind Johnny Storm (The Human Torch).
Announcements on the cast probably won't hit the world for some time — who are some of your picks for Mr. Fantastic, The Human Torch, The Invisible Woman, or The Thing?
Fantastic Four
[Image Credit: Marvel]
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